Customer Reviews

Mahler: Symphony No. 9 [Hybrid SACD]

5 star:		(4)
4 star:		(2)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

Michael Tilson Thomas is a phenomenal music director. He inherited the San Francisco Symphony in 1995 and has, since then, turned the band, which was already quite accomplished under Herbert Blomstedt's tutelage, into a world class ensemble in the truest since. Despite its few (but glaring) weakness - bad flutes and violins that tend towards thinness - the San Francisco Symphony boasts consistently fine playing and musically intelligent contributions from the soloists - droll clarinets, boisterous bassoons, a horn section second to none, beautiful lower strings, and rich, big toned lower brass. Listening to this ensemble - an ensemble in the truest sense of the word - is always a joy. But orchestral perfection will only get you so far, and in this gorgeously played 9th, Thomas prevents this performance from becoming something really special. On the whole, it is still a wonderful 9th, but ultimately one that will not go down as one of the great recordings of this symphony.

Objectively looking at Michael Tilson Thomas's ongoing Mahler cycle has been increasingly difficult for me mainly because, the more familiar I become with Thomas's conducting style, the more egregious the apparent faults become. Thomas's penchant for rubato and mannered stylization started off as an interesting, if unnecessary, detail in the 6th and 1st symphonies. It became a bit more problematic in the 3rd. And finally, it became irritatingly obnoxious in the 7th and 5th symphonies. Thomas's insistence on smothering his interpretations with a thick coat of decorative frosting and fussy, mannered detail leaves a fluffy, decadent, at times even saccharine aftertaste which belies the often overwhelmingly high-level of musical nourishment these recordings offer. Indeed, nearly every other musical choice Thomas makes is a good one - it's just a shame he cannot discern between the good and bad.

Here, in this most beautiful 9th, Thomas finds one of his better balances between structure and mannerism. Indeed, despite being one of the slowest 9th on disc, this performance shows Thomas making intelligent, sensitive choices, judiciously accenting important musical lines while remaining (relatively) faithful to the letter of the score. While this performance certainly does not match Bernstein's physicality measure for measure nor do the inner movements, where Chailly (Decca) and Barenboim (Warner) succeed, ring out quite like they should, this is still a 9th that has more than enough to say to justify its deserved success.

The first movement is simply one of the most gorgeous performances ever to grace this symphony. Thomas clearly takes great pains to maintain pristine instrumental balance, which results in shimmering orchestral opulence. The climaxes - especially the pesante outburst - are prepared and executed flawlessly, the coda is appropriately dreamy, and the orchestra creates some really dark, murky sounds when necessary. Yet, Thomas purchases this sonic perfection at a price. Due to his insistence on micromanaging every aspect of the score, Thomas allows tension to plateau at several points throughout the movement. This is a small complaint, considering the tension never actually snags, but it prevents Mahler's great transitional sequences from taking shape. For example, Thomas's opening flows, moving towards the first climax with slow, but focused determination, growing in strength and power. But just compare his opening to Bernstein's opening with the Concertgebouw (DG) where the music does not simply flow, it unfolds in such a natural and logical way that it makes Thomas's opening seem somewhat stagnant. This is, of course, a matter of taste (and a small matter at that), but it is, none-the-less what stubbornly keeps Thomas's Mahler from reaching epic status - his inability to really let go and focus on the bigger picture.

The second and third movements suffer from the same problems that plague the first movement. Thomas shapes a wonderful waltz and transitions into the Landler magically, coaxing some beautiful sounds from the orchestra. He takes his time throughout the movement, but it never sounds slow or labored - Thomas masterfully proportions the various episodes within the movement as a whole, which sound effortlessly logical and satisfying in his hands. But the orchestra is polished to a level of perfection that robs the movement' of its basic idiomatic power. The waltz isn't quite sleazy enough, the winds don't squeal and whine as much as they should, and the percussion is stubbornly tame except in forte. Again, a matter of taste, as the movement is still appropriately characteristic, ironic, and energetic with some irresistible drive. The same holds true for the Rondo. Great ensemble perfection, perfectly proportioned outer sections, a particularly introspective central episode, and a pretty exciting closing section. Yet it never reaches the level of visceral physicality that (it seems) Thomas is trying to generate. He cannot let his orchestra make an ugly sound and therein lies the problem. This movement does not sound nasty enough, especially when compared to any number of other successful recordings, including Bernstein (DG), Chailly (Decca), Barenboim (Warner), or Gielen (Hanssler). If Thomas had just let his orchestra make a more appropriately idiomatic sound, this would have been a performance for the ages.

As expected, this is probably as lovely a finale as you are ever going to hear, one that features some pretty plush string playing, some chilling "dead" episodes, and a particularly effective, hushed close. Thomas not only balances the timing of this movement against the first (both hover around half an hour), but also contrasts the moods of these movements with great effect. This prevents the symphony from sounding top heavy or uneven and shows that Thomas does possess a great sense of musical line. A wonderful and fitting close to a performance that was, on the whole, quite wonderful.

When all is said and done, this is still a fabulous 9th, aided in no small part by the glorious sounds of the San Francisco Symphony, which really offers the last word in orchestral polish. For the most part, the winds have character, the strings are full-bodied, and the brass is uniformly spectacular. Overall, their music director is quite well versed in Mahler and there is, despite all the shortcomings, a profundity of incite here. It succeeds on so many levels, in fact, that it is so frustrating that this performance wasn't better. Still, this is a winning interpretation and certainly one of the high-points of Thomas's ongoing cycle with his orchestra. Recommended.

Michael Tilson Thomas continues his excellent survey of the Mahler Symphonies with this beautiful reading of the valedictory Ninth. There are so many passages of magnificent orchestral playing and attention to previously ignored details that it is sad to say that ultimately this Mahler 9 is not the profoundly moving work on recording that it has been in Tilson Thomas' concerts.

The outer movements - Andante comodo and the closing Adagio are carefully sculpted and paced and are equal to most other recordings of this very tough and long work. Tilson Thomas knows what he wants from his orchestra and they play with uncommon sensitivity to some of the softest passages ever recorded without losing the line of thought or melody. The opening movement is richly reflective on a life Mahler knew was drawing to a close and Tilson Thomas makes the most of these reflective passages, finding not only the angst but the smiles of memory of past works. The closing Adagio is heart-wrenchingly slow and yet makes total sense in the way the final moments are drawn out into space with little heard of the last suggestions of notes in the ether of space. This final movement is wondrous and probing and exquisitely powerful.

The inner movements find Tilson Thomas returning to some of his more idiosyncratic traits of overemphasizing ralentandos and diminuendos and both movements are taken are tempi that rush and then fall away in a manner that draws more attention to the performance than the Mahler intentions. These are indeed personal reactions and for many they may not be problematic. For this reviewer, having heard Tilson Thomas perform this symphony live and with the information that this recording is taken form live performances in Davies Hall in San Francisco, it seems that these are truly Tilson Thomas' views of the concept of the composer, and yet these moments break the great arch of the entire symphonic statement.

In all this is a lush recording and certainly one that is among the best available on CD. And for both devotees of Mahler and of Michael Tilson Thomas this new release is a welcome addition to the library . The recording is a Hybrid Multichannel SACD and can comfortably be played on both SACD and regular CD players. Grady Harp, April 05.

At the outset, I should note that I am reviewing the 24-bit, 96 kHz PCM master from downloaded from iTraxx. While PCM and not DSD, I would assume my version is similar in sound to the DSD SACD version. My system consists of iTunes, with an Apogee DAC, Outlaw amplification, and Paradigm Monitor 7s, with a Paradigm 10" sub.

Sound:

This is very much a multi-miked, super-sized recording. Spotlight miking appears to have been used throughout the orchestra, most notably with the woodwinds and the basses. As such, many details hidden in other recordings are easily heard here, although at least some of that may be attributable to Thomas' interpretation or the work, which does at times highlight lines not usually emphasized in other interpretations. There is excellent bass extension, although the mid-bass feels a bit muddy. This is especially apparent with the tympani, which occasionally are obscured entirely. Also poorly caught are the cellos -- an essentially component to Mahler's sound pallet. Midway through the Second Movement, a critical solo cello performance feels buried behind the woodwinds, creating a confusing orchestral image. One would have thought that this cello line would have been emphasized in the mix. All this said, the overall balance of the orchestra is satisfyingly forward and brightly lit, without being grainy or harsh (notwithstanding a few odd notes here or there that unduly pop out of the mix). The soundstage is invitingly wide, but given the rather forward balance of the orchestra as a whole, soundstage depth feels somewhat compressed at times; especially during louder passages.

Performance:

There is no denying that the San Francisco Orchestra has risen to world-class levels. The playing throughout is excellent. Given the forward and (largely) detailed nature of the recording, there was nowhere to hide a poor individual performance. The woodwinds bear up to the high level of scrutiny the recording provides the listener. The brass play with great weight and authority, while the strings sound polished and, at times, opulent. The orchestra bears the load of Mahler's score with the poise and panache expected from a truly top-tier band. The San Francisco players should be proud of the their achievement, with great credit to Michael Tilson Thomas' leadership.

Interpretation:

It is often said that Mahler's 9th is "top-heavy:" with the breathtakingly inspired First Movement overwhelming the rest of the work. In my favorite performances, however, I never found this to be the case. Alas, it feel so here. Thomas does indeed do the First Movement proud. There are some minor quibbles, but largely the movement has sweep and grandeur, punctuated by terror and even great charm. The Second Movement, while not taken as fast on the whole, feels too rushed for the parody to be fully realized. The Third Movement is so frenetic that some of the brilliance of Mahler's contrapuntal mastery is lost, with the respite of the gorgeous middle section feeling more like a syrupy interlude than a glimpse into inner peace to be found in the final movement. The last third of the Rondo sounds scattered and confused -- almost more possessed by demons than beset by them. The last movement seems to find Thomas back on solid ground, and the performance concludes with a poignant sense of quiet acceptance.

Overall, this is a fine addition to the catalogue. I am increasingly convinced that there are no definitive Mahler performances, only a long line of valid interpretations. So broad and deep was Mahler's vision that likely no performance can be viewed as entirely authoritative and definitive. Thus, where I might find this performance less convincing, others may be fully persuaded. Suffice it to say that this is not another routine reading of this work, but a unique, deeply felt, and fully realized interpretation. I may not have been completely convinced by some of the performance, but that does not temper my enthusiasm for this fresh take on Mahler's 9th, one deserving of respect and admiration.

Michael Tilson Thomas's Mahler cycle has, in my opinion, been somewhat inconsistent in quality from symphony to symphony. This is probably one of his best so far though - this is one of Mahler's best works and MTT shows just how much care and thought he put into making this rendition a moving, powerful, and personal account of this great symphony. This conductor is not one to follow what is in the score exactly as there are personal touches all over the place. Sometimes this has not been very effective in other Mahler performances by MTT, but I think in this case it comes off quite successfully. Tempos are chosen well (although I would have liked to have heard more accelerando at the end of the 3rd movement) and the orchestra's playing is generally top-notch. Although there are other great performances of this symphony available on disc, I personally have really fallen in love with this version and would highly recommend it.

as with the previous recordings of Mahler symphonies by the SFSO and MTT, i really like this recording. the sound and playing is very good, as always with this orchestra. i give it 4 stars only because i am comparing it to the Royal Concertgebouw under Chailly recording, also an SACD. listening to this recording alone, i would say it is great, but in comparison to the Chailly recording, this disc is just missing something. it does not feel as dramatic, as explosive, as depressing as the Chailly recording. if for some reason you have a qualm with Chailly, than i would suggest this recording over all others.

Winston Churchill famously said of one of his predecessors, Stanley Baldwin, that he always it the nail on the head, but the nail didn't go in. Having attended one of the concerts that gave rise to this Mahler Ninth, I'd say the same thing. Every;thing is nicely in place. ensemble is smooth; there are no eccentricities of tempo or phrasing. In all, an impeccable job. But the actual point of the Mahler Ninth, its turbulence, wild contrasts, angst, pity, sorrow, and yearning, are nowhere in evidence. I can't judge if MTT feels the depth of this score, but I don't when he plays it. The SFSO isn't a world-class orchestra, but they play well enough. Only the final Adagio reveals a serious lack of richness and strength in the string body, but the conductor has so little to offer emotionally that this hardly matters.

I'm glad for MTT that he enjoys a loyal, vocal, numerous fan base, but the Mahler Ninth calls for much more than a dapper smoothing out. This is like King Lear on roller skates. Despite the five-star brigade, I could only accept this recording as a great Ninth if I hadn't heard both Abbado recordings, both of Karajan's, three from Bernstein, two from Levine, the recent Rattle from Berlin, the Klemperer, the historic Bruno Walter from Vienna and the late stereo remake from Los Angeles, the Giulini from Chicago....no need to go on. Tilson Thomas is a talented conductor faced with giants as rivals.

Ethics means disclosure. My top Mahler 9 has for some years been the read (now on Allegro? maybe a treasure hunt?) by the late, great Wyn Morris & Symfonica of London. I also hear lasting worth, visionary intelligence, & nourishment in: Barbirolli-Berlin, Bertini-Cologne, Gielen-SRO-Baden-Baden, Giulini-Chicago, Horenstein-VSO&LSO, Klemperer, Maazel, Sanderling-Berlin (Yes.), Walter-early&late. To my ear, all the others are on/off, more or less. I realize this leaves some very big name conductors in the nowhere middles, but that is how I hear them. I might listen occasionally to one of these others on a radio pass, but I always end up with the nagging feeling that I missed out on something important that matters. I met everybody else, often played to high technical perfection and often with heady emotionalisms (or not); but Mahler himself just failed to really speak to me there. The worst 9th of all so far is sadly: Boulez-Chicago. That was an insult, to my heart. Listen with a score and your heart in hand, you may hear what is missing: almost everything except the notes.

Disclosure two: the system. I am playing this on five channels, plus woofer. Def Tech large speakers on five, Velodyne on the woof. Pioneer omni-player for SACD, feeding B&K Ref30 preamp, then Bryston power amps. Cables are A&R.

Now to SFS. The superaudio sound magically recreates a Davies Hall acoustic in multi-channel home simultude. Your whole room is energized into a subtly different, vividly alive sound field. Just as the right tuned subwoofer can seem to bring all the other speakers to higher presence, though they haven't changed physically from what they were before you added the subwoofer, just so, multi-channel superaudio. The SFS engineers are getting it very right in this series, so far. If you know Davies Hall at all, then you are there, now. But state of the art sound fields mean little if the message isn't there.

Given the folks listed on my welcome list, I wondered how MTT-SFS would fare by comparison. Happily, MTT-SFS get the Mahler message across intact. This read can be heard and cherished as a distinctive, fine effort. Add it to the keeper list. MTT-SFS give me Mahler as a Great Humanist. The fierce inner movements are not perhaps as sardonic or biting or bitter as some. They are more like flashes of dizzy Kabbalah symbols whose narratives are more like dance, or like traditional Jewish humor built on the paradoxes, absurdities, and transience of life and of human nature. I think I sense what seems on later reflection to be a deeply Jewish humanism and mysticism infusing all. This Mahler is warm, rich, savvy; narrating joy or sadness or nostalgia; dreaming, or mourning; or telling you folk tales.

This MTT read is like getting a hand-written letter from Mahler at Maiernigg, instead of a typed one on Court Opera stationary from Vienna. This visit from Mahler leaves me feeling that he has been through a lot in life, deeply felt and deeply suffered. Yet here MTT-SFS remind us that at this stage, Mahler has still yet life-affirmingly survived. He has looked death in the face many times - including the loss of his daughter, his own cardiac diagnosis, and maybe even the dark business of Alma's affair; but he is not a Straussian tone poem figure, wispily lingering in his last hours of life, already breathing his last, almost rising in tenuously bound spirit from his body. This Mahler knows he still can live, thought not eternally, except in his music; and somehow in those inklings of pure, essential, indelible Romantic Era spirit that evoked the Wordworthian phrase, Intimations of Immortality.

Maybe the tag word would be: Mensch. This reading simply has deep human heart, human heft.

Such humanity is not sloppiness, however. Taken from a series of live concerts, this performance holds amazingly well together as a viable whole. The point here is not mainly to walk on the ultimate heights of technical perfection, although all departments of the orchestra play well at their top form. This is not, say, Maazel-Vienna.

Flexible tempos with intellect and identity and character, balances within and between orchestral departments, the air of the venue, phrasings, illuminating inner and outer humanist touches of countless number - all are captured clear and whole in this disc. Flashy, splashy it is not; but you still might later think you can show off your system in a whole new dimension when you play it. Have you started thinking of your home system as first and foremost capable of being a Stradivarius-like musical instrument, yet? Somewhere, back there in the corners and hallways, I think I get glimpses of that old L. A. Citizen and musical humanist mentor, Bruno Walter. I imagine he is listening and beaming to hear just how MTT has finally turned out, in his own fifties.

Highly recommended, then. A good friend and a welcome acquaintance, good company with the other repeat welcome visitors mentioned at the start. One of only two available Mahler 9's in real, multi-channel superaudio. Someday, when the piggy bank finally times open again, I have promised myself to investigate the Barshai Mahler 9, given how well he has famously done with 5, and with his own completed version of 10. Other news: the MTT-SFS is near public release as the first superaudio Mahler 7.

No point in repeating the good points that were made in other reviews here. I'll keep this short: as beautiful as this performance is, most of it is on the deliberate side and some of it is WAY too slow, fatally so.

MTT actually drags out each movement to a longer performance time than did Bernstein on his live Berlin Philharmonic reading. (Many conductors fall into this trap; it's still a trap.) Although Tilson Thomas often makes a persuasive case for these tempi in the first three movements, the last, Adagio, movement is so funereal as to lose musical coherence. Also, that deathly lack of energy drastically alters the psychological expression, the affective content, the "message."

Ultimately that message is positive and life-affirming. This was NOT Mahler's "farewell," in spite of the "Lebewohl" motives in the first movement, etc. etc. Listen to Bruno Walter's 1938 Vienna Philharmonic performance, available as Walter Conducts Mahler -- especially the last movement. You'll see what I mean.

Superb recording from a sound perspective , The performance is top notch. The CD arrived in pristine condtion.